Kristin Hunt

In 1970, an all-white state commission thought Mississippi was "not yet ready" to see a racially integration depicted on television. The backlash was swift.

Johnny Cash grappled with the many facets of the outlaw archetype in his feature acting debut, Five Minutes to Live.

The public fascination was so intense that fans soon started demanding live reenactments.

The 1936 movie Little Lord Fauntleroy broke box office records, only to be toned down and masculinized amid cultural fears of the “sissified” male.

In the period immediately following World War II, the femme fatale embodied a host of male anxieties about gender roles.

As José Ferrer was being handed his Oscar—making him the first Latino actor to win—he was being investigated by the House Un-American Activities Committee.

John Huston's 1945 movie The Battle of San Pietro presents itself as a war documentary, but contains staged scenes. What should we make of it?

Weekly shows on local TV stations helped make the ironic viewing of bad movies into a national pastime.

Frank Capra’s 1941 drama carries forward the populist themes of his other movies, only with a much darker premise.

During a slow day at work, a young marble cutter named Willis O’Brien began sculpting tiny T-Rex figurines.

The black filmmaker Oscar Micheaux was one of the first to make films for a black audience, a rebuke to racist movies like "The Birth of a Nation."

The Yippies' takeover did not quite go to plan.